Moving Time @ The Fire Note

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The Fire Note is Moving on 11/26!

Hey Fire Note faithful

Do you remember the rush you felt at your first concert? What about that feeling the first time you saw your favorite band live? Can you describe the anticipation that sets in when you open a new lp or cd – heck, even waiting on a download?

That feeling and memorable experience is the reason The Fire Note blog started back on April 10, 2006. I wanted to create a simple place that could showcase records that I liked. Starting next Monday, I am building on this idea and moving The Fire Note to its new home at www.thefirenote.com which will offer an array of content that will still be about the enjoyment of music.

This next chapter in The Fire Note is very exciting as I have expanded the content in order to capture and emphasize the belief that music is an experience. Along with an increase in the number of daily reviews and contributors, The Fire Note will be offering music news, vinyl release spotlights, tour info, seven-inch release coverage, artist features, label profiles, and interactive classic album reader reviews.

Thanks again to our growing daily audience and everyone that has supported The Fire Note from the beginning. I feel that The Fire Note has a unique voice in the current music scene and will consistently offer a different perspective.

So once again thank you for reading, feel free to share with your friends, enjoy your Thanksgiving holiday and most of all join in on this new experience we call The Fire Note next Monday (11/26) at www.thefirenote.com - See you there!

-Christopher Anthony, Founder

Jason Collett: Reckon

Jason Collett
Reckon
Arts & Crafts Records [2012]









Fire Note Says: Reckon is a dark and angry record, wrapped in a pretty folk package.

Album Review:
Reckon, the 6th solo lp from Broken Social Scene’s Jason Collett, is a protest album, but you might not get that from it on first listen, because Collett has such a gift for melody that it sounds too pretty to be protesting anything. By the third listen, it becomes pretty obvious, that this is in fact social commentary, and Collett is none too happy about the current state of economic affairs in his native Canada.

Sonically, at its best moments, Reckon conjures up the spirit of Townes Van Zandt. It’s a laid back folky affair, with some tasteful strings thrown in for good measure.  “Jasper John’s Flag” was the first song to really catch my ear. Much like the famous painting for which the song takes its name, there is more to this song, and more importantly to Reckon as a whole, than what is on the surface. Underneath the surface is where the statement lies. The real life Johns painted his famous American Flag overtop a collection of news stories and photos which were barely visible under the paint, they added to the mystery of the painting. What was he trying to say? What was just underneath the surface? That is where the true art lies. Collett is doing the same thing on Reckon, there is an anger and a general distaste for the direction things are headed in, but it simmers just below the surface, you can almost hear what it is exactly he is saying, but then it’s gone. It’s there but you can’t quite grasp it. That’s the art; it’s open to different interpretations by different listeners.

Collett is seldom as honest about his distaste as he is on “I Wanna Rob a Bank”. Written from the point of view of someone who has absolutely nowhere else to turn, it’s a catchy song with a dark message. Elsewhere, on “Don’t Let The Truth Get to You”, he explores the differences in social class and the exploitation of the working class by all facets of society.

Reckon is a multi-faceted record, operating on multiple levels at once. It’s a dark haunting record, wrapped in a pretty folk package.  The only real problem I had with this record, and one that kept it down a notch, is the fact that it the record loses a little of its potency due to it all starting to sound the same after awhile. For it to be truly effective, the record has to be engaging enough to really draw you in. I was easily distracted from it, which was unfortunate, because I was hoping to become completely absorbed.

Key Tracks: “Jasper John’s Flag”, “I Wanna Rob a Bank”, “When The War Came Home”

Bands With Similar Fire:
Townes Van Zandt
Steve Earle
Ryan Adams

Jason Collett Website
Jason Collett Facebook
Arts & Crafts Records

-Reviewed by Kevin Poindexter

We Are The Physics: Your Friend, The Atom

We Are The Physics
Your Friend, The Atom
This Is Fake DIY Records [2012]









Fire Note Says: We Are The Physics turns up the speed and volume on Your Friend, The Atom.    

Album Review:
We Are The Physics are a four-piece outfit from Glasgow, Scotland.  Your Friend, The Atom is their second full-length release, following up to 2008’s We Are The Physics Are OK at Music.  If it’s not evident in the title of both releases and their songs, We Are The Physics have a sense of humor that pervades their music.  The band is known in the UK for their frenetic live performances with a B movie vibe to them.  This is how they describe themselves, so imagine that as you will. 

New-wave punk is an appropriate descriptor for Your Friend, The Atom.  Each song comes at you full throttle and doesn’t let you off the hook until it fades into black.  When the track works, such as the Franz Ferdinand-esque “Napoleon Loves Josephine,” the results are great.  That track has a great groove to it and had me bobbing my head in time to the propulsive drumbeat.  On other tracks, like “Applied Robotics,” the results are more mixed; in fact, I was relieved when the track ended.  One fault of the album is the sameness in the intensity and volume of the songs.  This was one reason I enjoyed “There Is No Cure For The Common Cold So Don't Expect A Cure For Cancer” because it did change the pace a bit.  I also love the song title.  The same can be said for “Goran Ivanisevic,” who was a pro tennis player who excelled at Wimbledon in the 1990s and finally won the tournament in 2001.  I hadn’t thought of good ol’ Goran for a long time, and he has a name that can occupy an entire chorus of a song.  This is no small feat and We Are The Physics pulled it off; it seems as though they know they’re getting away with something ridiculous as the song plays out.  These three tracks are standouts on the album; the remaining tracklist honestly runs together into an indistinguishable entity.  We Are The Physics make no apologies or concessions for this and I don’t think that their fans mind.

Your Friend, The Atom is an album to play loud and move to - it’s definitely not background music at a wine tasting.  As always, there can be too much of a good thing.  Taken in small doses I found the album to be quite enjoyable - in its entirety, not so much.  The commitment and humor that We Are The Physics demonstrate is admirable and they have carved out a niche that is all their own.

Key Tracks: “Napoleon Loves Josephine,” “Goran Ivanisevic,” “There Is No Cure For The Common Cold So Don't Expect A Cure For Cancer”

Bands With Similar Fire:
The Hives
Devo
Franz Ferdinand

We Are The Physics Website
We Are The Physics Facebook
This Is Fake DIY Records

-Reviewed by Matthew Heiner

Clinic: Free Reign

Clinic
Free Reign
Domino Records [2012]









Fire Note Says: Free Reign finds Clinic doing what they do best, and continuing to add new ingredients to their psychedelic sonic stew!

Album Review:
There was a point in the early 2000’s where I, like a lot of music fans, were riding hard on the Clinic bandwagon. What wasn’t to like? They had a cool, Velvet Underground collides with Suicide sound, they were endorsed by the likes of Radiohead, they had the masks…Ok the masks weren’t that cool, and they still aren’t, but that has nothing to do with the actual music. Winchester Cathedral (2004) was such a colossal disappointment all across the board that I fell completely off the bandwagon, checking in periodically, but never really buying back in. I was intrigued when Clinic’s new record, Free Reign, came across my desk to review.  It seemed like an interesting challenge to me, would it be possible for me to like or even love this record, would it be possible for me to be able to listen without prejudice as my man George Michael once wished? The answer is a resounding yes, not only does Free Reign find Clinic doing what they do best, but it also finds them adding new ingredients to their psychedelic sonic stew.

Musically “You” sounds exactly like VU filtered through the minimalist synth deconstructions of Suicide. Whereas in the past, a track like this would be more of a vamp for Clinic, it’s now an actual song. These guys have really grown in this department in the past decade. The haunting vocals and laconic vocal delivery are still present, but they now carry more of a melody and less of a rhythm than in the past.  “Misty” opens the album, and it sets a dark tone right away. There is a tension in the music that builds as the song moves along, but rather than a dynamic release, we get more of an unresolved feeling as the organ builds and swirls over top of the electronic drums, before the whole track ultimately fades away.  “Seesaw” is the most classic Clinic sounding track on the album. It has a strong Can influence, and is built more on a jam than an actual song. It fits in well with the more constructed tracks that surround it.  I should also mention “Seamless Boogie Woogie, BBC2 10 pm (rpt)” just because it has one of the most ridiculous titles I have ever seen, but the song itself is a nice piece of synthy psych!

Free Reign isn’t going to make many critics best of lists, and that’s a shame. It seems that there has been a movement in rock critic’s circles to dismiss this band as washed up, or a one trick pony. There are still many fickle music fans that were so turned off by one dud album that they don’t want to waste their time on this band. I was as guilty as anyone. You aren’t going to find many bands playing a krautrock/psychedelic/minimalistic synth pop hybrid, so you should give these Liverpudlians another shot! I’m about to go back into their catalogue and find out what I have been missing for the past 8 years!

Key Tracks: “You”, “Misty”, “Miss You”, “For the Season”

Bands With Similar Fire:
Suicide
Can
Radiohead

Clinic: Bubblegum [Fire Note Review 11/3/10]
Clinic: Do It! [Fire Note Review 4/8/08]

Clinic Website
Clinic Facebook
Domino Records

-Reviewed by Kevin Poindexter

Peter Gabriel: So [25th Anniversary Special Edition]

Peter Gabriel
So [25th Anniversary Special Edition]
Real World/EMI Records [2012]
(3CD Set)








Fire Note Says: Music here is an easy 5 - the lack of extras holds this version slightly back from taking all gold!

Album Review:
I don't think there should be much argument or even discussion about how great So is from Peter Gabriel. It is a record that took him from being the eclectic front guy from Genesis that had some really great solo records to a MTV hipster and mega pop icon. It was the record that transformed Gabriel from playing 5,000 person venues of followers to 40,000 seated stadiums where the audience knew every lyric to the songs from So.

This popularity helped propel So to another level and still today most people remember the crazy videos from this album. With that said 1986 was a different time (I know the 25th Anniversary math doesn't add up) but in 2012, So still stands tall. In fact, the version offered here uses the same track listing that Gabriel used on the 2002 remaster which bumps "In Your Eyes" from its original midway placement to the closing spot on the record. An excellent move as the song is not only one of the best of that decade but ranks very high in many best of all time lists.

There are three different versions of this Anniversary Edition which each increases the Gabriel offerings up to the limited edition which includes 4 CDs/2 DVDs/1 LP/1 12" Box Set. This Special Edition not only contains the remastered album but also possesses the previously unreleased 2 CD set Live In Athens 1987. Some of the footage from this event appeared in a 1990 documentary but now the show has been restored, remixed and remastered. The end result is stellar. You get Gabriel in his singing prime and playing to a gigantic crowd. The live album has the perfect mix of audience and music while featuring Gabriel introducing the band on the opening "This Is The Picture", giving intros to songs on tracks like "Shock The Monkey" and "Biko" while still diving down into more prog numbers like "The Family And The Fishing Net" before getting huge ovations at the start of "Solsbury Hill" and the hits from So. The recording blows 1994's Secret World Live out of the water and is equal to 1983's Play Live with the bonus of having a more popular set list as So is featured front and center.

Overall fans will need to decide if they want to buy another anniversary edition but I would say die-hards will definitely enjoy Live In Athens which makes this set worth every penny. There are no b-sides here which will be irritating to some as I will admit was a little surprising although the integrity of So is still maintained on its single disc and the b-sides would not have worked being added in with the live show. Plus that gives the 30th anniversary edition something to go for! Anyway, you absolutely can't go wrong with picking up a copy of So and hearing Live In Athens will only increase your respect for Gabriel as one of the great rock icons of our time.

Key Tracks: "In Your Eyes (Live)", "Solsbury Hill (Live)", "The Family And The Fishing Net (Live)"

Bands With Similar Fire:
Talking Heads
David Bowie
Brian Eno

Peter Gabriel: Scratch My Back [Fire Note Review 3/1/10]

Peter Gabriel Website
Peter Gabriel Facebook
EMI Records

-Reviewed by Christopher Anthony

The Soft Moon: Zeros

The Soft Moon
Zeros
Captured Tracks Records [2012]









Fire Note Says: The Soft Moon has something in a box it'd like to show you.

Album Review:
Zeros is full of hermetic, chain-chamber music that’s simultaneously a funhouse mirror image of scary music and the thing itself. “Machines” swirls and pelts. “Zeros” and “Lost Years” burst with disco shimmies and goth gasps. “Crush” drowns us. “Want” sounds like the soundtrack to a werewolf hunt. But to what end?

Nine Inch Nails has hit the mark in the areas of both dark loudness and lurking darkness —the latter is best evidenced on Ghosts [2008] and Trent Reznor’s film scores—but on Zeros, The Soft Moon does a solid job of inhabiting the middle ground between these extremes. One of NIN’s biggest hits came when it did the same thing (on “Closer”) and Suicide has been widely hailed as early pioneers of the same. The Soft Moon builds upon these precursors while also cribbing more than a few cues from Bauhaus and their ilk. The result? A mood album that would’ve fit well under the 2011 film Drive. Picture David Bowie in a Berlin film house in 1977, watching a time-machine-obtained copy of Drive: now you have the feel of this album. Watch Bowie twitch stylishly, his eyes lit by cold light. Watch Gosling pose and bleed.

The menace is palpable on this album, sure, but is the musicianship? For the most part, yes. It’s all variations on a theme, crime scenes observed from various angles: in some songs you’re the serial killer and in others you’re the victim. It’s not an album for everyday. Willful immersion suits it best and I imagine most of the songs would wither in the light of a sunshiny day. But when you’re off to meet the mad monk in the underground rail station? Well it’s then that this album shines.

Key tracks: “Machines”, “Zeros”, “Crush”

Bands With Similar Fire:
Suicide
Bauhaus
Pigface

The Soft Moon: The Soft Moon [Fire Note Review 12/9/10]

The Soft Moon Website
The Soft Moon Facebook
Captured Tracks Records

-Reviewed by Alan Black (www.alanblack13.com)

Trapper Schoepp & The Shades: Run, Engine, Run

Trapper Schoepp & The Shades
Run, Engine, Run
SideOneDummy Records [2012]









Fire Note Says: Get ready to run with Trapper Schoepp & The Shades as their third lp is a non-stop Americana romp!

Album Review:
Southern flavored music from a Milwaukee band on a typically punk label? That does not necessarily sound like a recipe for success but I will tell you that Trapper Schoepp & The Shades third album Run, Engine, Run is an excellent listen all the way through and they nail all the components that create a solid slice of Americana rock.

From the opening track "So Long" you automatically know that Run, Engine, Run is going to connect as Schoepp longingly sings "So long to the evening / Today passed me by / So long, so long, so long" with a heartfelt delivery that is very similar to the style of Ryan Adams best work. The tempo of course picks up next on the catchy knee slapper "Cold Deck" that features some well played pedal steel guitar which for me is always a welcomed addition. At only 22, Schoepp sings beyond his years with a confident swag to his voice that instantly pulls you into this record. The big sing-along song "Tracks" is another highlight on the album and features plenty of memorable moments as it possess a mid-point guitar solo and a stellar violin spotlight, from the talented Gina Romantini, while the songs conclusion features the band harmonizing the last line "Let the dust rise up and cover our tracks" with no instruments in sight.

There are many bands that have come before Trapper Schoepp & The Shades with this style of roots rock but I always like it when a band nails the sound you expect. They play it fairly straightforward but play it so well that you don't care if you can't find any new music adventures here on Run, Engine, Run because the songs are well written, the musicianship is excellent, the hooks are memorable and it is an album that you just put on and drive - and then slowly reach down and hit repeat. I can't believe that Schoepp and the boys have not had more success but I highly recommend giving them a shot because I just can't put this record down!

Key Tracks: "So Long", "Tracks", "Ally"

Bands With Similar Fire:
Wilco
Ryan Adams & The Cardinals
Old 97's

Trapper Schoepp & The Shades Website
Trapper Schoepp & The Shades Facebook
SideOneDummy Records

-Reviewed by Christopher Anthony

Soundgarden: King Animal

Soundgarden
King Animal
Universal Music Group [2012]









Fire Note Says: Soundgarden return after 16 years with a fan satisfying album.

Album Review:
We have already seen plenty of classic groups come back together in 2012 and now Soundgarden add to the list after a 16 year absence since a studio record. As one of the kings of grunge I don't think anyone knew what to expect from King Animal. Most asked - would it be more like the harder edged Badmotorfinger [1991] or like the mega-selling Superunknown [1994] or even possibly similar to Audioslave?

Well, I think King Animal is probably somewhere between their last record Down On The Upside [1996] and Cornell's Audioslave material but still offers glimmers of the earlier Soundgarden that everyone really wants to hear. The first single "Been Away Too Long" kicks the record off with a familiar formula but rides the edge of being too lyrically cute for its own good but then the more riff heavy "Non-State Actor" takes your mind immediately off the track and hits the right memory nerve because this is the edgy grunge you put on your best flannel for. The twisting and soaring mid romper "A Thousand Days Before" also will hold your interest as the track seems like what Soundgarden should sound like today as it has the perfect classic rock/grunge/2012 blend.

Like many of these classic acts that have returned this year I don't think it is fair to them or their music or their fans to totally dwell in the past. Sure I want the hunger that was on Soundgarden's earlier records to rise up on King Animal but the reality is that probably was not going to happen - and it didn't. Now don't despair because there are plenty of songs that still show that there is still some fire left in the well as "Bones Of Birds" has that "Black Hole Sun" vibe going on with a fresh outlook while "By Crooked Steps" possesses a very familiar tight rumbling rhythm. All of these components leave a huge Soundgarden imprint on King Animal - as it should. There is no mistaking this record for anyone else and that is a good thing. Hopefully the band keeps things rolling because now that the newness factor is over I really want to hear what they can rev up next!

Key Tracks: "Non-State Actor", "Bones Of Birds", "A Thousand Days Before"

Bands With Similar Fire:
Queens Of The Stone Age
Led Zeppelin
The Smashing Pumpkins

Soundgarden: Telephantasm [Deluxe Edition] [Fire Note Review 10/25/10]

Soundgarden Website
Soundgarden Facebook
Universal Music Group

-Reviewed by Christopher Anthony

The Who: Live At Hull 1970

The Who
Live at Hull 1970   
Geffen/Universal Music Group [2012]









Fire Note Says: See Me, Feel Me, Touch Me, Release Me

Album Review:
Originally released as part of the Deluxe Edition of Live at Leeds in 2010, The Who-Live at Hull 1970, has finally been given its own standalone release! Recorded the night after Leeds, February 15th 1970, the Hull show stands on its own as a powerful testament to the ferocity of the Who at the absolute peak of their powers. In fact, if Hull had been released instead of Leeds, this would easily be considered one of the finest live albums of its era. However, due to problems with the recordings, this was never going to happen. John Entwhistle’s bass tracks were somehow not recorded on the first six songs of the night. Thankfully due to the fact that the setlist was virtually the same, and the performances were nearly identical, using modern technology, the producer was able to “airlift” in his bass tracks from the night before, and mesh them perfectly with the rest of the tracks. I never would have known this if it wasn’t in the liner notes, it sounds perfect.

I’m not going to dissect the music too much, odds are good if you’ve gotten this far, you know the songs and are familiar with Live at Leeds enough to be curious about this new Live at Hull. Instead, I want to talk about what makes this different and nearly as essential as Leeds, and why you need it. The most startling difference between Hull and Leeds is the drum work of the late great Keith Moon. For me personally, his drumming was always the highlight of Leeds. He is up front and center in the mix once again, almost as the lead instrument. What’s really interesting is that the fills he plays are completely different than they were only the night before. He is all over his kit, and at points you can hear his sticks hitting the mics as he is going ballistic. For me, the differences in Moon’s playing alone make this worth owning. The energy of the crowd is different, they are a bit more low key, and though it doesn’t affect The Who’s playing, it does affect their between song banter. They move from song to song without much dialogue. It’s BAM BAM BAM, hit after hit, whereas on Leeds, Pete Townshend was very talkative with the crowd. 

There are two big differences on disc one musically, first, the band didn’t end the set with “Magic Bus”, which by all accounts was rarely played, so many think it was a reward to the wild crowd at Leeds, and two, “Shakin’ All Over” breaks down into the classic blues jam, Spoonful, in the middle, before coming back at the end. Other than that, the highlights are the same, a smoking version of “A Quick One While He’s Away”, The hit trio of “Substitute”, “Happy Jack”, and “I’m a Boy”, and the smoking 16 minute version of “My Generation”. All of disc two is devoted to a live rendition of Tommy. Tommy is where Roger Daltry’s pipes really shine. His voice is in excellent form here, and this is really his showcase. If you’re as big a fan of that album as I am, you need to hear this. It’s remarkable that these four guys can pull off a piece this complex in a rock concert setting and not lose any of the energy of their live show. They really nail it, particularly with “Overture”, “Amazing Journey”, “Sparks” and “We’re Not Gonna Take It”.

This is a great sounding live album, every bit the equal to Leeds in fidelity, and far superior to the Isle of Wight performance from later in the year in every way imaginable. I can’t recommend this album enough, to both diehard Who fans who are already familiar with this material, and particularly to newcomers, who really have no idea of the transcendent rock experience this set has to offer. Go check this out now!

Key Tracks: “We’re Not Gonna Take It”, “A Quick One While He’s Away” , “Amazing Journey”

Bands With Similar Fire:
Guided By Voices
The Jam
Jimi Hendrix

The Who Webstie
The Who Facebook
Geffen/Universal Music Group

-Reviewed by Kevin Poindexter

Green Day: ¡Dos!

Green Day
¡Dos!
Reprise/Warner Bros. Records [2012]









Fire Note Says: The second offering of the Green Day trilogy works harder to find its own identity.

Album Review:
Green Day are back with the second installment of their trilogy, correctly titled ¡Dos!, and it once again throws caution to the wind with its free spirited vibe. This release of course is coming at you after the Billie Joe meltdown, Billie Joe in rehab and Green Day cancelling tour dates. With that said ¡Dos! has had very little press and feels like a surprise even though it was promised.

I am not sure all of the recent chaos surrounding Green Day discouraged this listen but where ¡Uno! seemed to have a fresh and fun retro approach, ¡Dos! has a more laid back pulse which never taps enough into the bands pop punk roots for my own taste. The album kicks off interesting enough with the acoustic intro "See You Tonight" that starts you thinking that round two is going to go elsewhere before it leads right into the pounding drums of the snotty 50's rock styled "Fuck Time". Green Day still bring plenty of attitude as they are never afraid to drop a cuss word here and there but the overall music on ¡Dos! never quite revs up like it did on ¡Uno!. This is really too bad because I was hoping for this section of the trilogy to forget popular culture and shows like the Voice and simply just rip it up.

Well ¡Dos! never goes to that punk extreme although it still should attract most of the current Green Day fanbase and encourage them to pick this record up for both loyalty and to continue the trilogy journey. Ultimately this middle section record could be the least memorable because even though it still is catchy in spots, ¡Dos! never maximizes the band's potential. I am still holding out that next years ¡Tres! is the punk rock record from Green Day that I have been waiting on as it would be the perfect ending to this ever tricky trilogy!

Key Tracks: "Stray Heart", "Ashley", "Stop When The Red Lights Flash"

Bands With Similar Fire:
All Time Low
Foo Fighters
Yellowcard

Green Day: ¡Uno! [Fire Note Review 9/21/12]
Green Day: Awesome As F**k [Fire Note Review 4/11/11]
Green Day: 21st Century Breakdown [Fire Note Review 5/15/09]

Green Day Website
Green Day Facebook
Reprise/Warner Bros. Records

-Reviewed by Christopher Anthony

Further Seems Forever: Penny Black

Further Seems Forever
Penny Black
Rise Records [2012]









Fire Note Says: Further Seems Forever comes back to the scene strong.

Album Review:
Further Seems Forever returns with their first studio record in eight years, and the first to feature the full original line-up since 2001’s The Moon is Down. I’ve rocked Further Seems Forever before, but I’d never heard anything from Chris Carrabba’s time in the band and, truthfully, I wasn’t even aware he was ever a part of it until I looked into the band to write this review. Having only heard his very soft vocal style on his Dashboard Confessional work, I did not expect the edgy, raw screeching that I received upon starting the album, but they worked so well with the style that I wondered why Carrabba ever left the band in the first place.

I was glad to see that the style of the record wasn’t simply a secondary Dashboard album; I find that many bands whose members develop side projects end up sounding like the side projects, rather than themselves. I cite Stone Temple Pilots’ self-titled album as a prime example. But this album seems to maintain the band’s integrity. Even the closer, “Janie,” while entirely acoustic and drastically different than the rest of the record, did not sound simply like an unused Dashboard Confessional b-side.

While the emo genre may not be as popular now as it was ten years ago, Further Seems Forever seems intent on sending it out in style. From the opening track’s first chords and low vocals, they slowly draw you in before the powerhouse of a chorus begins in earnest. “Engines” features a beautiful post-chorus guitar line, one which reminds me of some of Dance Gavin Dance’s older work, and “Staring Down the Sun” delivers some of the most intense vocals on the record; a high melody and low harmonies that put even some of Taking Back Sunday’s best tracks to shame.
While perhaps not the best record I’ve heard all year, it’s definitely worth a listen for any fan of the band, fan of the genre, fan of Chris Carrabba, or fan of any decent music.

Key Tracks: “Staring Down the Sun,” “On the Outside,” “So Cold”

Bands With Similar Fire:
Taking Back Sunday
AFI
30 Seconds to Mars

Further Seems Forever Website
Further Seems Forever Facebook
Rise Records

-Reviewed by Christian Yates

West End Motel: Only Time Can Tell

West End Motel
Only Time Can Tell
Warner Bros. Records [2012]









Fire Note Says: Metal master mind’s West End Motel takes a direction that’s surprising and appreciated.

Album Review:
First before beginning I feel a disclaimer needs to be put in place - A lot of people know that Brent Hinds is one of the ax slingers behind psych, sludge powerhouses Mastodon. This side project, West End Motel, along with this record, Only Time Will Tell, is not at all a continuation of those sounds. While tone and influence can become recognizable throughout the album, this is an album made by people who love music, for people who love music. You have to approach this with an open mind and I feel that you’ll be easily surprised and enjoy what you hear. Like I said before, West End Motel is a side project put together by Mastodon’s Brent Hinds and friends. It could be classified as a boozy, tropical, gypsy doom-wop pilgrimage, not a pilgrimage to find identity or direction, but one of expansion and incorporation. It‘s the type of music that has an eclectic direction in the vain of a Tom Waits or Nick Cave. As schizophrenic as this record could be labeled, I still feel that Hinds’ tonal technique and skillful playing are glue enough to keep this musical Frankenstein fun, fresh, and focused.

Tumbling out the gate is opening track “Burn It Down” which possesses a rhythm that could be mistaken for a Young American era David Bowie. It has a sun soaked tropical feel that held my attention from the start and hearing this you can only wonder what other directions the record could take. “El Myr” presents a bouncy organ accompanying a breezy chug, its shout out loud vocals celebrate El Myr and the song has a fun funky reggae theme that plays out nicely.  Their is something about “If I Only Had Tomorrow (Second Chances)” that takes me back to my high school days. Yes, Hinds always has an interesting spacey tone to his playing, but for some reason I keep drawing conclusions to some of the mellow, lax, and sometimes effortless songs of Incubus’ Morning View [2002]. “Bite” provides a simple riff that may sound like it could have been written by Tom Petty or Jon Bon Jovi on acid while drums bring in a nice rolling thunder thump that keeps things on track nicely. Finalizing the track we’re greeted with a nice guitar solo, that maybe considered a true Mastodon wailer. “Forgiveness” comes across as samba/salsa number, close your eyes and you may see an intense dance of passion, open your eyes and it maybe you who has a rose in their teeth. Final track “Valentine” might seem to crawl away on its knees in shame, while the lyrics seem to garbled to make out based on the songs tone I get the feeling that rejection is in the picture here.

Hinds said it him self, he assembled a band of losers, poets, and hobo-sexuals. This group is all based around his love for country-chicken-pickin‘-flying-’round-the-guitar-neck guitar players. Knowing a bit about the personality of one Brent Hinds one could surmise that this album may have been conceived with a bit of a tongue in cheek attitude. If that is so, it still showcases some fine musicianship and interesting angles. Maybe I’m giving this record to much credit but I stand by my feelings because it’s really nice to have this sludge, space rifting powerhouse start something up to recognize his roots. Please check in to this vaudevillian west end motel because I have a feeling that you may be glad that you did.

Key Tracks: “Burn It Down”, “If I Only Had Tomorrow(Second Chances)”, “Forgiveness”

Artists With Similar Fire: 
Nick Cave
Tom Waits
Friend Without A Face

West End Motel Website
West End Motel Facebook
Warner Bros. Records

-Reviewed by Christopher Tahy

Helvetia: Nothing In Rambling

Helvetia
Nothing in Rambling
Joyful Noise Recordings [2012]









Fire Note Says: Helvetia mix Olivia Tremor Control and My Bloody Valentine in a blender and come up with Nothing in Rambling!

Album Review:
Hevetia (pronounced hel-vee-shuh) play a brand of experimental psychedelic indie rock that calls to mind bands like Deerhunter and classic Elephant 6 bands from the past, without ever falling down the rabbit hole of weirder bands like Animal Collective or Music Tapes. On Nothing in Rambling, Helvetia’s new album on Joyful Noise, the Portland group has created their most focused effort to date.

“Pumpkin Rose” grabs your attention right away, as the song sort of swirls in and gets started immediately. Sounds come at you from every direction, before finally merging together at around the one minute mark. The effect that is created is both jarring and entirely satisfying. This is headphone music and should be experienced accordingly! The track is equal parts Olivia Tremor Control and My Bloody Valentine mixed together in a lo fi blender. “RyBro” is another 60’s inspired psychedelic pop gem, part Kinks and part Syd Barrett. Helvetia keep mining this same vein over and over again, finally mixing things up with the title track, “Nothing in Rambling”, which has a bigger sound and is less busy sonically, and is instead more focused on the pop side of this equation.  Who knew these guys could be a straight indie pop band like The Shins if they wanted to be?? Album closer, “What You Wanted” is another winner. It starts simply enough with a strummed guitar, but then builds multiple layers over top of it. Jason Albertini’s vocals convey a feeling of longing that close the album perfectly, and leave you wanting more. Technically, this is the most impressive track on the record, and also the most satisfying song as a whole on Nothing in Rambling.

This is a pretty good record, it tends to wander a little, and can be a bit samey in the middle, but Nothing in Rambling rallies at the end and finishes very strong. When they are focused and firing on all cylinders, Helvetia can deliver psychedelic indie pop as good as anyone else currently recording. Definitely give it a listen!

Key Tracks: “What You Wanted”, “RyBro”, “Pumpkin Rose”

Bands With Similar Fire:
Olivia Tremor Control
Deerhunter

Elf Power

Helvetia Website
Helvetia Facebook
Joyful Noise Recordings

-Reviewed by Kevin Poindexter

Neil Young And Crazy Horse: Psychedelic Pill

Neil Young and Crazy Horse
Psychedelic Pill
Reprise/Warner Bros. Records [2012]









 Fire Note Says: Neil Young saddles up the Horse for a long psychedelic journey through the past!

Album Review:
Until this spring, it had been nearly a decade since Neil Young had saddled up his longtime backing band Crazy Horse and recorded with them. Now we have Psychedelic Pill, which is the 2nd album this year from this powerhouse! While the first album, Americana was a rough and rocking take on some old chestnuts from the past, covers included “O Susannah”,” Clementine”, and “This Land Is Your Land”, Psychedelic Pill is a collection of new material, although it too finds Neil looking to the past for inspiration.

Album opener, “Driftin' Back”, is a 27 minute psychedelic haze. It starts acoustically with just Neil and his guitar, and then the band slowly fades in, creating a dreamlike effect which carries through the entire song. At 27 minutes, the song never gets old, there are numerous feedback laced guitar solos that are never pointless and always move the track forward. This is exactly the kind of stuff that this band has been doing since the early 70’s, though they have never stretched it this far on record before. It’s a stunning album opener. Only Neil Young & Crazy Horse could open an album in this fashion and have it work.

The title track is awash in phasing and flanging (there is a straight mix of the song tacked onto the end as a bonus track) which also suggests that Neil is working from a dreamlike state and trying to convey that feeling to the listener.  “Ramada Inn” is the standout track on the record, and one of the finest Neil songs in many years.  At just under 17 minutes, it sounds exactly like what you want it too, a longer “Cortez the Killer”. Once again, it finds Neil looking back on the past, not necessarily through his own eyes, but through the eyes of the protagonist.  When Neil sings “And every morning comes the sun, and they both rise into the day” you can feel the years of experience and more importantly wisdom that the line contains.  Album closer, “Walk Like a Giant”, is another excellent 16 minute workout, though it’s not quite as dynamic as the first two long pieces on the record. You’re looking at over an album’s worth of material just in those 4 songs, and there are still 4 more tracks on the record.

The shorter tracks aren’t quite as thrilling as the long cuts, but they are still pretty darn good.  “Born in Ontario” rides a nice little groove ala “Homegrown”, and it tells the tale of Neil growing up and seeing all of his musical heroes as he was coming of age. “For The Love of Man” is a quiet introspective number that feels a bit out of place at first, but over repeated listenings, it bridges the gap nicely between “She’s Always Dancing” and “Walk Like a Giant”, it’s a chance to catch your breath.

This is the most satisfying Neil Young & Crazy Horse record since Ragged Glory [1990], and one of the real highpoints of the latter half of his career. Don’t be afraid of the long track times, trust me, all of the songs go somewhere, they transport you as if you are in a dreamlike state, this is no pointless guitar wankery, this is the real deal!

Key Tracks: “Driftin' Back”, “Ramada Inn”, “She’s Always Dancing”

Bands With Similar Fire:
Jimi Hendrix
Dinosaur Jr
Bob Dylan

Neil Young Website
Neil Young Facebook
Reprise Records

-Reviewed by Kevin Poindexter

Anberlin: Vital

Anberlin
Vital
Universal Republic Records [2012]









Fire Note Says: Anberlin makes good on their promise to deliver their most aggressive record.

Album Review:
I’ve been listening to Anberlin for a few years now, ever since New Surrender [2008] dropped. Needless to say, I’ve been eagerly anticipating Vital, their seventh studio record. In June, frontman Stephen Christian said that this album would be their “most aggressive to date.” I feel they’ve made good on that claim. Now, that isn’t to say that every track is a heavy, ear-bending construction. “Innocent,” for example is an extremely mellow song, featuring mainly synthesized instrumentation reminiscent of 80’s pop (only, you know, good), over which Christian’s melodic vocals soar. But the majority of the tracks do take on a dark edge that was prominent on many of the tracks on Cities [2007].

“Self-Starter,” the album’s lead single, kicks off the album with a heart-pounding melody that I think can only be accurately described as “alternative dance metal.” The opening and chorus riffs to “Desires” is possibly the heaviest guitar work the band has recorded thus far. The album actually features quite a few electronic elements, a style they had worked with previously to some degree, though it seems more prevalent on Vital. “Other Side” features a haunting keyboard melody that floats above the heavy guitars, and “Someone Anyone” begins with a synthesized intro, which is later mimicked by the guitars.

So the question to which I’m sure everyone is dying to receive an answer is: does the album stand up to their impressive back catalog? I’d say that, while the record is very good, it’s not great. It’s on the same caliber as New Surrender: it features a few really strong, really impressive songs, but some of the other songs fall a little flat. Whether you’ve been a fan for a while, or if this is your first introduction to the band, you’ll enjoy the record, but it isn’t quite their best effort to date.

Key Tacks: “Orpheum,” “Other Side,” “Modern Age”

Bands With Similar Fire:
Funeral for a Friend
Lostprophets
Neon Trees

Anberlin Website
Anberlin Facebook
Universal Republic Records

-Reviewed by Christian Yates

Times New Viking: Over & Over EP

Times New Viking
Over & Over EP
Siltbreeze Records [2012]









Fire Note Says: Times New Viking make a triumphant return to Siltbreeze with their new EP!

Album Review:
You Can Never Go Home Again is the name of a posthumous book by Thomas Wolfe, in which he famously stated that once you have left your proverbial country home for the big city, you can never return to the simpler life you left behind. After stints on mega indies Matador and Merge, Times New Viking are proving that you can in fact go home again, and flourish while you are at it! In fact other than the label name, there isn’t much to differentiate their new ep, Over & Over, from any other of their work on those labels. After all, it’s not like they ever really cleaned up their sound on those albums, particularly Rip It Off [2008], which is probably the LOUDEST album I own. Now back on Siltbreeze, their home from 2005-2007, Times New Viking have put out this 6 song, 14 minute ep, and surprise, it’s maybe the most perfect thing they have ever released.

The Columbus, Ohio trio still sounds grimey and lo-fi, but their arrangements and songwriting have never been better. Maybe this stuff just sounds better covered in fuzz, I don’t know, but my ears are loving it. Adam Elliott’s singing has grown more confident over the years, and his voice now sounds strikingly like his brother, Kevin, who was the front man for late great 90’s band 84 Nash (find Band for Hire if you can). Beth Murphy’s voice is still as strong as ever, and their two voice’s mesh together well to give them a sound all their own. Musically, they owe a lot to the greats, Sonic Youth, The Clean, Yo La Tengo, and Guided By Voices, but never really sound like anyone of those bands, just a perfect hybrid of all of them.

The first track, “Sleep-In”, starts with a bang, bounding along at a fast clip, and has more of a New Zealand sound than I was expecting. The pairs vocals don’t quite match up, and the song is better for it, it makes it sound looser and a bit disjointed, more raw. “Middle Class Drags” has a really fat and catchy guitar riff, courtesy of Jared Phillips, and has a really great hook to boot. Over & Over sounds like what Dancer Equired [2011] would have sound like if they had left in just a bit more distortion in the mix.

Key Tracks: “At The Bars”, “Sleep-In”, “Middle Class Drags”

Bands With Similar Fire:
No Age
The Clean
Yo La Tengo

Times New Viking: Dancer Equired [Fire Note Review 4/25/11]
Times New Viking: Born Again Revisited [Fire Note Review 11/12/09]
Times New Viking: Stay Awake [EP] [Fire Note Review 10/28/08]
Times New Viking: Rip It Off [Fire Note Review 1/24/08]
Times New Viking: Present The Paisley Reich [Fire Note Review 8/9/07]

Times New Viking Website
Times New Viking Facebook
Stiltbreeze Records

-Reviewed by Kevin Poindexter

The Jam: The Gift [Super Deluxe Edition]

The Jam
The Gift [Super Deluxe Edition]
Universal Records [2012]
(3CD / 1DVD Set)








Fire Note Says: A "super" revisit with The Jam's last record The Gift.

Album Review:
The Jam were one of the more notable bands that rose out of the 1977 British punk scene right alongside The Clash, Buzzcocks and The Sex Pistols. What is interesting is that they seem to still be relatively unknowns this side of the big pond. This is mostly because their style was completely different as they had a greater influence on the pop world and always showed their infatuation with American R&B. The Jam mostly kept this influcne in the background but when 1982's The Gift was released it was apparent that the 60's soul of Stax Records had reemerged through the voice of frontman Paul Weller and the ebb and flow of The Jam placed the vibe right out front.

The Gift was the last record from The Jam and in their catalog it is typically ranked near the bottom of their six full lengths. Now don't think it is because The Gift is awful because it is really about the fact that records like In The City [1977] and Sound Affects [1980] are so good. Now after taking The Gift for another several spins I believe the album plays better today than it probably played for fans back in 1982. I say this because "Town Called Malice" is still great but the styling of "Carnation" sounds fresher while the more funky "Precious" does not seem out of place at all in 2012.

All of this back story leads us to the new Super Deluxe Edition of The Gift which celebrates the 30th anniversary of the album and gives the fans 3 CDs with 59 songs that includes the original album remastered, b-sides from the period, demos, alternative takes and a previously unreleased complete concert at Wembley Stadium from the last ever Jam tour. This super set also includes a DVD compilation with tour tracks, promo clips and TV Specials. This may be too much material for the casual fan but for The Jam faithful this is the collection to own. The live show is definitely worth hearing as the band is at the top of its showmanship while the collection gives great insight into the final record when you get a chance to hear many of its demos. All of this should lead you backward into the Jam's catalog if you are new to the party because truly they are one of the greats and you really can never go wrong when you make the decision to spin one of their albums!

Key Tracks: "Precious (Demo)", "That's Entertainment (Live)", "Running On The Spot"

Bands With Similar Fire:
Arctic Monkeys
Small Faces
Super Furry Animals

Universal Records

-Reviewed by Christopher Anthony

A Shoreline Dream: 333

A Shoreline Dream
333
Latenight Weeknight Records [2012]









Fire Note Says: A Shoreline Dream float on an open sea of dreams with their 333 LP.

Album Review:
A Shoreline Dream comes to us all the way for Denver, Colorado bringing with them a moody blend of ambient psych with a nice post-rock tinge. A neat idea, the 333 album was actually released as three separate EPs each bearing the name of 3. Once everything was said and done it was then reformed into the 333 LP. Each one being recorded and released over a 3 month span, each also having three tracks upon them. Each album issued to encapsulate a different mood, time, and influence within the band. The first one released, Three, influenced by open, mountainous landscapes, the second one, 3,gives more influences to the dark, ominous night, and finally the third, III, is based upon long drives and creating a sort of driving soundtrack. It’s an interesting experiment that gives some pretty neat and surprising results.

Album opener “Barnum” invokes a night of clear skies and shooting stars, it’s dark and free flowing ambience wash and roll like a dreamy tide over this listeners ears. A steady beat keeps the song going at a smooth pace as lush guitars blossom out of the track. “Eleveneleven” with it stutter, stagnated beat just seems to hum and open up with wonder. Each pluck of the guitar string seems to convey the expansive nature of time and space while also communicating a vibe of solitude at the same time. A change of pace is the chug ahead fuzz, stomp of “Oneside”. Its driving beats pound forth and its soaring vocals seem to hide behind to wall of fuzz. “Always There” enjoys another expansive landscape of sound that floats off into space with a deep reverb, chorus tinged string strokes, and haunting keys that imply a sense of urgency every time they pop up. The track pulls a neat Godspeed You Black Emperor card and likes to seed sounds of life into it, a theme that also presents itself on other tracks. Like speeding down and infinite stretch of highway the heavy, acoustic chord strums of  “Osceola” invite the listener to also travel on a journey. Opening drum beats and carefree guitar structure imply no feeling of destination but as the track begins to come to a close, a destination or sense of purpose has been achieved and is reached. Greeted by a strong mountain wind final track “103” concludes an interesting album of adventures, sounds, and expressions by portraying a drive up to the highest paved road in North America.

A Shoreline Dream’s 333 is a bold album, in points it can be classified as schizophrenic, but it can also give off an impression of similarity, but with consistency. It’s expansive without being overwhelming and it’s also subtle. It breaks the traditional mold of shoegaze but also gives a great impression to anyone deep in the genre. 333 isn’t for everyone but for anyone wanting to get drenched in a shoreline dream, I recommend taking this album for a spin.

Key Tracks: “Barnum”, “Eleveneleven”, “103”

Bands With Similar Fire: 
Sigur Ros
Film School
Slowdive

A Shoreline Dream: Losing Them All This Time [Fire Note Review 1/13/12]
A Shoreline Dream: Recollections Of Memory [Fire Note Review 2/10/09]
A Shoreline Dream: Avoiding The Consequences [Fire Note Review 8/25/06]

A Shoreline Dream Website
A Shoreline Dream Facebook
Latenight Weeknight Records

-Reviewed by Christopher Tahy

Basement: Colourmeinkindness

Basement
Colourmeinkindness
Run For Cover Records [2012]









Fire Note Says: The sophomore album from Basement brings back the glory days of indie guitar rock for an entire new generation to enjoy!

Album Review:
I was just having this conversation last week about my wish (and the need) for solid straightforward guitar rock to make a return to the indie ranks. I am not talking about what many would call rock radio in its current state (or maybe ever) but a return to that grinding and edgy style that some great 90's acts like Hum, Jawbox and Sunny Day Real Estate used to bring to every album they released. Well, you can now add the young UK group Basement alongside groups like METZ and Absolute Monarchs which are amping up their guitars.

Colourmeinkindess is the group's sophomore record and it represents a true progression and expansion of ideas from last years debut I Wish I Could Stay Here. It is an album that seems quite simple from the exterior as its cover art is somewhat neutral, 9 of its 10 tracks have one word titles and the album is over after 33 minutes. Now don't let any of that fool you as Basement's direct lyrics smack your brain and vocalist Andrew Fisher's drawn out deliveries pull the listener along willingly. "Covet" kicks off with just Fisher singing "When I'm with you - I don't want to be with you" before the thundering drums and guitar rocket the song off upward into a slow burn while these quick transitions work well for Basement like in the opening track "Whole" where the last third of the song possesses a memorable solo guitar riff where everything else halts for a full 10 seconds before the track gears back up to its conclusion. This of course only covers the first two tracks on the album as the remaining eight bring forth the same quality start-stop rhythms and crunching guitar work.

Call me old timer, call me old school, call me a dreamer but Basement's modern retro sound is energizing to hear. Even though the album could be from the 90's, Colourmeinkindness hits fresh and should engage an entire new generation with Basement's young vigor. Sadly, the Basement recently announced plans to go on an indefinite hiatus after some final shows this year so hopefully they will reconsider because Colourmeinkindness should propel them to bigger things! I also hope that this small resurgence of guitar power on the indie scene continues to thrive, not only because its great - but it is time!

Key Tracks: "Spoiled", "Control", "Whole"

Bands With Similar Fire:
Jawbox
Hum
Quicksand

Basement Website
Basement Facebook
Run For Cover Records

-Reviewed by Christopher Anthony